Forsyth, Neva, fl. 1890-1960
The Military Museums Library and Archives
1917
Earl Payson Gartley Fonds Christmas Card WWII
Gartley, Earl Payson, 1906-1944
[194-]
Gordon Gilmour Fonds Christmas Card WWI #1
Gilmour, Gordon, 1890-1962
1915
Gordon Gilmour Fonds Christmas Card WWI #2
66th East Lancashire Division Christmas Card Collection Christmas Card WWI
Great Britain. Army. Infantry Division, 66th, 1914-1940
Leo Patrick Griffin Fonds Christmas Card WWI
Griffin, Leo Patrick, 1890-1918
[191-]
Painting of Rembrandt's mother
Small copy of a painting of the painter Rembrandt's mother, used to influence Kroetsch when writing Sounding The Name
Harmenszoon van Rijn, Rembrandt.
Archives and Special Collections: Box 53, Folder 1
Unknown
Diamond Advertisement in Harper's Weekly [text]
This diamond advertisement is shown in Harper’s Weekly’s May 30, 1868 issue. The advertisement is seen as “sensational advertising” due to the fact that it is eye catching. The letters are different fonts and sizes. Once the advertisement catches the readers attention, the reader notices that they have the “finest” diamonds. This differs from the older style of advertisements, where advertising had long instructive and detailed description. The only detailed description that is given about their diamonds are that they are the “Finest.” This advertisement is placed here purposely for the readers to do a tessellated reading between this ad and The Moonstone. This shows up a page or two before The Moonstone instalment. Therefore, when reading The Moonstone, the readers mind will keep going back to the diamond ad that caught their eye. This part of The Moonstone, has Franklin Blake coming back from England for one purpose, which is to solve the mystery of the Moonstone. It would be pretty hard for a reader, not to recall the diamond ad while reading this instalment.
Harper's Weekly
The visual scene of Ezra Jennings waiting for Mr. Blake in Harper's Weekly is the key illustration for chapter X. The object details of this scene follow closely to the description of the novel, from the "book-case filled with dingy medical works, and ornamented at the top with a skull", to the "copious ink" stain on the table (Collins 378). However, the composure of Ezra Jennings is not presented to the reader through the text. Rather, the illustration seen here presents Ezra in a pensive, and thoughtful composure. What the text does not mention, the illustration presents in this moment. It is an example of the relationship between illustration and text, the "complex interplay of realist detail and sensational events" (Leighton 75). This pictorial representation demonstrates the approach of two fold literacy in Victorian literature. Ezra's composure, which is a sensationalism beyond the realistic realm of the textual representation, creates an expectation in sensational genre.
On the front page of Harper’s Weekly, February 1, 1868, is a full page spread featuring the poetry of John Thompson. The poem is reminiscent of Anderson’s “The Little Match Girl” (1845) and it sits atop an illustration of the young boy in the poem. In both illustration and poem, the poor boy has succumb to the cold and died in front of a building. As previously argued, the sensational nature of the Victorian periodical and newspaper was directly associated with the middle-lower classes and “new” or “common” readership. Therefore, the accompanying literature, illustrations, and other materials included into each weekly instalment must adhere to the sensational or, at the least, be familiar in nature to those reading. This front page spread does both. By placing an image and story of a dying boy on the front page, the paper immediately recalls “shocking” or “horrifying” elements of sensationalism. Furthermore, they cater to the sensational material throughout Harper’s, and serve as a preface to other sensational fiction inside the newspaper, including The Moonstone. Secondly, the nature of the boy’s death- a lower class individual- would be a familiar story for many that had been touched by poverty or hard times during the Victorian era. By implementing the familiar and the sensational, Harper’s Weekly introduces itself as a newspaper that caters to the common reader.
Feb. 8, 1868 Literary advertisement - Harper's Weekly
This advertisement is representative of the foregrounding of facts over fiction in Harper’s Weekly. In contrast to All the Year Round which seeks to instruct through fiction, Harper’s Weekly chooses to instruct by advertising a piece of literature that has to be purchased and consumed elsewhere. This piece also takes care to note that “the fidelity of [the author’s] statements [were] confirmed”. This emphasizes the magazine’s concern with the presentation of viable facts to its viewers as proving the literature worthy of promotion and consumption. This makes the exaggeration of the Moonstone image even more remarkable because of the willingness shown to bend the truth in order to emphasize a material commodity. This advertisement is also careful to name Harper’s as the book publisher. Not only is Paul du Chaillu given credit, but Harper’s is ensured to gain profit as well. The fact that it is a French explorer being censured by English critics showcases another aspect of the literary disparity across cultures. Perhaps it is the fact that it is a Frenchman’s writing that makes the book more suspect in the eyes of British critics who might favor British literary craftsmanship.
Feb. 8, 1868 Title Page - Harper's Weekly
Harper's Weekly: Journal of Civilization (Text)
Comparatively, the week the same section of “The Moonstone” appeared Harper’s Weekly, an American publication, it was featured alongside several references, either textual or imagistic, to the now commonplace epistolary lifestyle. The opening page is comprised almost entirely of a image depicting the “Dead Letter Office” a place where the lost letters of the American postal service were laid to rest. The image alone reveals a pile of letters, offering a visual image of what will later become prominent in Collin’s text, but also highlighting the popularity of epistolary correspondence. The article that accompanies the image begins “Out of the 462,279,719 letters which annually pass through the United States mails, 4,306,508 are misdirected or unpaid and go to the Dead-Letter Office at Washington.”
Pipes Advertisement in Harper's Weekly [text]
In Harper’s Weekly’s May 30, 1868 issue, the reader sees an advertisement for tobacco pipes, pipe repairs, and pipe holders. This advertisement is an example of “sensational advertising” as we see that the advertisement can catch the reader’s eye with the illustration of the pipe presented. We can do a tessellated reading between this advertisement and The Moonstone in this issue of Harpers. As the editor probably already knew, pipes are a great advertisement to have the reader’s view before reading The Moonstone. In this instalment of The Moonstone, the story begins with Franklin Blake walking up to Betteredge, while he is reading Robinson Crusoe. It does not specify that Betteredge was smoking his pipe. However, Wilkie Collins has trained his readers to recognize Betteredge, his pipe, and Robinson Crusoe as a trinity. Betteredge is the man who smokes a pipe while reading Robinson Crusoe; Robinson Crusoe is the book that Betteredge reads while smoking his pipe. You can’t talk about Betteredge and Crusoe without thinking about his pipe, which is why the pipe advertisement is a very strongly placed advertisement. Now whenever the reader thinks of Betteredge and Crusoe, the reader will think about the pipe and the pipe advertisement that they just saw a couple pages back.
Seamstresses Wanted advertisement in Harper's Weekly [text]
This is an advertisement from Harper’s Weekly, looking for workers who know how to use sewing machines, or have a general knowledge of sewing. There were a few different clothing advertisements in this issue of Harper’s. They might have been placed there by coincidence, however, if we look at the other advertisements and Katie Lanning’s article on “tesselated texts,” we can make a pretty legitimate assumption that these advertisements were strategically placed where they are. Can these advertisements be read as “tessellated” with The Moonstone? How does clothing relate to The Moonstone? How important can clothing be in The Moonstone? Extremely, as in this instalment, while Franklin Blake and Betteredege are trying to solve the crime of the Moonstone, they end with finding the thief’s nightgown- Franklin’s nightgown. In the illustrations of this part of The Moonstone, the objects that stand out the most, besides the people, are the articles of clothing. In the first illustration, Franklin is realizes that it was in fact his nightgown with the paint smear. In the second illustration, there is a shirt randomly hanging up in the background. Where would a reader previously have seen pieces of clothing as prominent as in this story? That’s right, in the advertisements.
Harper's Weekly, The Moonstone Title Page, 1 August, 1868. [text]
The first page of the Harper’s Weekly publication is modest in its attention to the journal itself. ‘Harper’s Weekly’ is seen in plain print at the top of the page, doing little more than reminding the reader in passing that they are reading this text within the journal. The focus of the page is undoubtedly The Moonstone. The title of the novel stands out against the rest of the smaller text on the page, and the author’s name is hard to miss directly below it. Immediately, the reader knows what they are reading and who has written it, they also become aware of other texts by said author, boasting Collins’ own success. The title, however, pales when compared to the two illustrations on the page. Harper’s notes that this narrative is ‘RICHLY ILLUSTRATED’, and rightly so. The top-left image shows (presumably) Blake speaking to Gooseberry, while the bottom-right displays the climax of the installment – the death and reveal of Godfrey Ablewhite. Not only do these images effectively draw the reader into the narrative, they excite Harper’s audience by showing what is in store for them if they choose to indulge in Collins’ story. In short, almost no emphasis is placed on the journal, and it appears that every penny spent in printing was done so in an effort to advertise Collins’ work.
Harper's Weekly: Biographical Information and Image of the Justices of the United States Supreme Court [text and image]
A column featuring brief biographical information on the Justices of the United States Supreme Court.
Feb. 8, 1868 Gettysburg Asylum Advertisement - Harper's Weekly
This advertisement is an appeal to citizens to help contribute to the aid of invalid soldiers. It is a wonderful humanitarian venture that is founded securely on financial donations. The monetary emphasis of this piece is highlighted in the use of the words “Valuable Presents”, the assurance that “the Diamond Goods, Pearls, Emeralds, Rubies…” have all been examined, the bold font of the figure $641,950, and the exhaustive list of valuable rewards. This piece emphasizes the monetary emphasis of American society of the time. It even begins with “an appeal to the American people”, insinuating that this is the best way for American people to help better the living conditions of their veterans. This emphasis on the need for financial aid portrays the importance of material wealth to help enhance all levels of society. Just as the “Diamond Goods” in this fundraiser are beneficial for the veterans, so too could the Moonstone of Collins’ narrative be taken from its place of moral ambiguity and elevated as an inherently virtuous commodity.
Harper's Weekly, The Moonstone, 1 August 1868 [text]
While the second and final page of The Moonstone installment lacks the allure of the title page that precedes it, it still remains clear that Harper’s focus is on the work itself rather than the journal or otherwise. Again, there are no advertisements present on the page or inserted in the text. While the title of the work and its author are not mentioned again on this page, Harper’s Weekly appears the same; modest text serving no purpose other than letting the reader know the journal they’re currently reading. The page is, essentially, a block of text, suggesting Harper’s counted on the title page of the text to allure readers. Certainly, the foreshadowing images would likely satisfy the initial attraction. Harper’s likely hoped that story itself, half of it having been written on the title page, would be enough to keep readers going to the end.
Harper's Weekly: Advertisement Pages [text]
FIG. 1. Harper’s Weekly, certainly, was well aware of the diversity in individuals that purchased their newspaper. This can most readily be seen in the advertisement pages. The first page of advertisements is filled with an assortment of objects related to all things literary; everything from “golden pens, pen and pencil cases” and even an ad stating that “every man should own his own printer” can be seen. Furthermore, the assortment of journals, novels, and guides for sale cannot be overlooked. These guides cater to all, from “Essays for Young Men on the Errors and Abuses Incident to Youth and Early Manhood” to an “Illustrated Guide to the Flower and Vegetable Garden” to “Two Paths in Womanhood.” Clearly, the diversity in both the class and gender of the Victorian newspaper reader was vast. Notably, many of the journals offered are free of charge. For example, the “Holiday Journal” filled with “large pages of parlour plays, games, experiments, problems and puzzles” can be delivered to one’s home free of charge. Similarly, the aforementioned “Essays for Young Men” is also provided free of charge. Certainly, the middle-lower class “new reader” would have been particularly concerned with such advertisements.We can assume that many publishers would capitalize on the growing readership of Victorians, in the form of reading materials becoming more readily available at a cheap or free price. Furthermore, the inclusion of such advertisements in Harper’s itself shows that the newspaper also was in high demand of middle-lower class readership, since others advertised similar minded works within it. FIG. 2. The second page of advertisements continues to follow the first. Though significantly less literary in nature, the second page does contain a few objects of literary importance. The inclusion of the “Patent Book Clamp” is particularly interesting. The clamp is said to combat “ruined books” by means of clamping one’s materials together under a convenient handle for carrying. This interesting advertisement illustrates a demand and interest of the Victorian reader for accessories related to printed material. It shows not only the popularity of cheaply printed novels, but importantly the diversity at which such materials are now available. Of course, the demand for the accessory would not exist without the demand for the object it is intended for. Lastly, Harper’s includes an illustration of a common “social problem” at the top of the advertisement page. The caption states: “The Street Car Question Again” and appears to outline problems associated with street car/railway etiquette. The image on the left details a group of men seated in the car while a young woman fails to find a seat. Notably, each of the men has a newspaper lifted to his face, reading on the car. As Altick notes in his book, “‘Railway reading’ was another influential [book] trade development” (301). Cheap reading material was born of railway travel, where one could read in relative peace, with respectable lighting, in order to pass the time. The illustration of such “railway reading” in Harper’s only further exemplifies the hold literature, news, and reading had upon the common Victorian. Alitck, Richard. The English Common Reader : A Social History of the Mass Reading Public, 1800-1900. Chicago: U of Chicago, 1957. Print.
Title Page for The Moonstone in Harper's Weekly [text]
This is the title page for The Moonstone in Harper’s Weekly’s, May 30, 1868 instalment. On this page we see two illustrations taking up a good portion of the page. In the title of The Moonstone, the words “RICHLY ILLUSTRATED” are presented as almost as big as Wilkie Collins’ name. This could show the level of importance illustrations are to Harper’s magazine. We see this importance of illustration also in the advertisements in Harper’s Weekly. One picture depicts Franklin Blake discovering his nightgown after reading the instructions from Rosanna’s letter. In the second illustration, we see Limping Lucy giving Franklin Blake a look of disgust, while some article of clothing hangs up to dry in the background. In both illustrations, a good amount of focus is on these articles of clothing. Katie Lanning explains how advertising before the use sensational writing, was “largely straightforward and informational, void of sensation and affect” (13). After sensation writing came out, advertisers would try “mimicking the form of sensation writing” (13). By mimicking the sensational novels, advertisements aimed less at the instruction of the product, and more towards trying to catch the readers eye and attention through sensation and affect. This type of advertising was known as “sensational advertising” (13). We see sensational advertisements in Harper’s Weekly, as their advertisements are filled with pictures and words of different sizing and fonts.
This is the first illustration that appears in Harper’s Weekly’s publication of The Moonstone. Combined with the other two images on this first page, the illustration sets the tone for the series’ representation of the novel’s Indian characters. Here, two Indians are pictured praying before a large statue of a Hindu deity. Another Indian kneels by what appears to be burning incense, his hands outstretched in supplication towards the deity. It is a peaceful, yet ominous scene. Note the deity’s downcast countenance; it looks as though it foresees the impending assault. The illustrators use prolepsis here to garner sympathy for the Indians, and animosity towards the British. According to the explanatory notes in the Oxford edition of The Moonstone, this deity, “later identified as Vishnu the Preserver…[is meant to be] represented in a black or blue colour, with four arms and a club to punish the wicked” (Sutherland 470). Harper’s presents a fairly accurate depiction, but the statue has a fat belly and a wideset head. It is supposed to be a goddess but has masculine features. It looks more like the Buddha than Hindu depictions of Vishnu, which suggests the editors’ ignorance of Hinduism, and an Orientalist mindset.
"The Moonstone will have its vengeance yet on you and yours"
In this illustration, the second of three that cover part one of Harper’s printing of The Moonstone, the American editors are keen to represent the aggression of the British Empire, while fostering sympathy for the Indians. We know from the text that Seringapatam has been plundered and desecrated by British soldiers. The image depicts John Herncastle in British military uniform, towering over an Indian, arm raised with dagger in hand, poised to slay his victim. The image gives us full access to the illustrators’ recreation of the scene. We see Herncastle from the front. We are able to witness the impending murder, and even Hernacastle’s emotionless face. It is key to point out that, in the novel, Herncastle is approached by the narrator from behind, and it says nothing about his being poised to strike: the Indian “was sinking at the feet of a man whose back was towards me. The man turned at the instant when I came in, and I saw John Herncastle, with a torch in one hand, a dagger dripping with blood in the other” (Collins 4). This alteration of the novel’s description of this event was a conscious choice meant to emphasize Britain’s imperial aggression. Indeed, as Leverenz points out, “[t]he evocative nature of the images and their prominence necessarily framed readers’ first experience of the novel”(Leverenz 29). It is clear that the American editors made a conscious choice for a deliberate effect.
This short comic highlights aspects of American racist ideology by presenting a caricature of an African-American, “Sambo.” This character “soliloquizes” in reply to the Bible verse, “He that giveth to the poor, lendeth to the lord.” In his reply he uses bastardized English, with a “d” sound in place of the “th,”making the character appear stupid. Nowadays “Sambo” is viewed as a racial slur for a black person. A children’s book published in 1899, “Little Black Sambo,” featured a hyper-racialized black boy, Sambo, and his mother and father, Mumbo and Jumbo. It portrayed the boy as a typical “picanniny.” “Picaninnies were portrayed as nameless, shiftless natural buffoons running from alligators and toward fried chicken. [They] had bulging eyes, unkempt hair, red lips, and wide mouths into which they stuffed huge slices of watermelon” (Pilgrim n.p.). This comic subtly implies these characteristics and preserves a racist, imperialist dialogue. “Indeed, that era of codified racial supremacy in the American South tied the region in many important ways to the theories and global practice of colonial imperialism” (Degala 8). Harper’s Weekly was published out of New York. It was also a major operation, not some obscure, white supremacist newspaper. This was mainstream news. And yet, the editors found it acceptable to print this comic. To have a caricature like this in a mainstream newspaper reflects the society’s acceptance of racist ideology.
Front Page of Harper's Weekly, 8 August 1868 [Text]
This is the front page of the 8 August 1868 edition of Harper’s Weekly. Collins' “popularity [was such] with American readers that his name always appeared before any other novelist in Harper’s catalogues” (Leighton and Surridge 208), and such is also the case with The Moonstone. Collins’ name appears prominently at the start of the story, but not (unlike the British version) at the start of the periodical. Harper’s Weekly instead leads with the current news. They use the whole front page to illustrate the top news for the week of 8 August 1868, a flood in the Maryland area. These illustrations act as a sort of introduction to The Moonstone in Harper’s Weekly; specifically the illustrations of natural catastrophe on the front page ask readers to consider the outcome of the conspiracy around the moonstone in the novel, and to relate images of catastrophe to the conclusion of the novel, even if coincidentally (the editors obviously did not orchestrate a flood for literary effect). Leighton and Surridge would write that the images are “proleptic, anticipating the events of the letterpress to come” and intentionally guiding readers’ interpretations of those events (210). I will note also that the front page of Harper’s Weekly is generally less readable than the front page of All the Year Round: the page itself is too large, the text is too small, and the layout is too tight to encourage readers to actually read the whole installment, which adds to the idea that Harper’s Weekly is less interested in the story itself than All the Year Round.
"The boy became stiff, and stood like a statue, looking into the ink in the hollow of his hand."
This illustration, the third and last that accompany part one of The Moonstone in Harper’s Weekly, presents another interpretation of the three Indians who search for the moonstone in England. They surround a boy who holds the magical ink in his hands. Through Betteredge’s narration, Collins notes that the Indians treated the boy in way that was “not unkindly” (Collins 17). The illustration stays true to this description, despite Leverenz’s claim that the Indian Brahmins are portrayed in an imposing way (Leverenz 29). The illustration portrays no sort of aggression on behalf of the Indians. They look solemn, even melancholy. They are not depicted with any sort of disfigurements, disabilities, or blemishes. They are tall, upright, and look vigorous. Their noses are only slightly larger than Herncastle. All in all, they look rather dignified. The boy, who may be displaying a small amount of reluctance, shows no sign of fear or discomfort. The editors would have had the opportunity to villainize the Indians, but clearly chose not to. It falls in line with their goal to appear progressive by sympathizing with the colonized subject. However, the Indians all look exactly the same—their faces, their height, their complexion, and their dress, are all the same. The only thing that distinguishes them apart is that one has a black topped turban. Once again, as in the first image, there seems to be some amount of generalizing the Indians and placing them in the category of Oriental other.
Advertisement in America: Harper Weekly July 11, 1868 [text]
Title Page of Chapter's VIII and IX of "The Moonstone" [image]
This image is the title page of Chapter’s Eight and Nine of the Moonstone in the Publication Harper’s Weekly. Harper’s is able to compare and contrast different cultures using dark and light images. The foreign culture is represented as three Indian men lurking in the darkness with dark, unrecognizable faces. The dark represents two things. The first is the unknown motivation of the characters. The dark conceals their faces hiding their intentions. Secondly, the dark or darkness is generally represented alongside the concepts of the unknown and the evil. The represented characters motivations are hidden from the reader and by using dark shading around the character’s faces and landscape, it portrays the characters and their actions as abnormal. Harper’s is able to influence the reader’s conception of Indian’s in a negative context by aligning them with the dark and unknown. When the image of the three Indian men is compared with the other two images on the page, the reader can see a contrast between the images. The Indians are dark, foreboding and unknown while Rachel Verinder, Franklin Blake (top right image) and Rosanna Spearmen (bottom center image) are clearly portrayed. Harper’s highlight’s the norm as something that can be perceived and understood by using images of the male and female English White body. The Indian’s are unknown and portrayed as people who are not like the norm making them Culturally Disabled.
"Double Allegiance" and "Englishman Upon Ireland" [Text}
This image contains two articles found before the moonstone in the January 25th edition of Harper’s Weekly. The two articles discuss political policies in England. The article “Double Allegiance” discusses the absurdity of England’s allegiance laws where a child can be hung for treason if they fight against England for an opposing force in war even if the man was born in England or a colony then left immediately after their birth. The writer of “Englishmen upon Ireland” discusses Irelands want to separate from the English empire. The writer[s] of both articles reinforce England’s Cultural Disability from America’s perspective because the writer[s] point out the absurdity of these cultural practices. Because America did not adhear to England’s ideal’s on the represented cultural practices they talked negatively about them giving the reader a negative outlook on their culture. England is represented as Culturally Disabled by pointing out the flaws in their political policies and connoted how America was much farther ahead in terms of these polices than what England was achieving or hoped to achieve.
This image contains the article “The Devil Tree” in the Harper’s Weekly publication. The article discusses the people of Zanzibar, Tanzania in Africa and a certain cultural practice they perform. The people of Zanzibar believed they could exercise evil spirits from afflicted people called Imps by binding them to a piece of iron, glass or other such object. Once the Imp was bound they would hang the object in a tree, trapping the Imp there forever. The people of Zanibar’s system of belief is sensationalized as no more than an interesting story of a savage people’s, making their home seem like a wild, uncivilized, unkempt land. The writer gives no context as to how this cultural practice came about and does not question why the people believe in the Devil Tree. The writer only give’s the reader the sensational negative and scary aspects of the practice (i.e. focusing on a man who clubbed his wife to death. He is hanged and the imp is exorcized). The writer and publication represent the people of Zanzibar and their culture as disabled due to the focus on the negative and horrid aspects of the practice rather than actually trying to determine why it takes place at all. This would have given the reader a negative outlook on the Indians represented in the chapter's 8 and 9 of the publication.
In The Moonstone in Harper’s Weekly, which was circulated through the United States, the title is similarly printed in distinct, capitalized letters that are easily noticeable from other titles. In Harper’s, too, more space is given around the title to draw more attention to this particular story, using the space to specify the author and his relevant works, and to directly state that the story is “Printed from the Author’s Manuscript” and “RICHLY ILLUSTRATED”. Very much like All the Year Round, Harper’s Weekly sought to commodify its installations of The Moonstone using this claim to authenticity. Perhaps because of the distance between England and the United States, Wilkie Collins is not only named in the first installation of his story, but in all of them, so as not only to rely on the reputation of his previous works. To emphasize the richly illustrated version of The Moonstone in Harper’s, the recognizable title is followed immediately with a large illustration of Ezra Jennings and Franklin Blake as they look poised to make a discovery which has long eluded the reader throughout their journey through the story. It is the illustrations which have the most active role in sensationalizing stories in periodicals. Though the Victorians in England may have considered Americans less intelligent, and so in need of illustrations, these illustration would have been quite expensive to include. As Harper’s Weekly was “one of the most widely circulated American literary magazines of the period” (Leighton and Surridge 208), the publication would have been quite influential and would have had the budget to invest in its stories and advertisements. Rather than this incriminating the Americans for being less intelligent, this is a testament to the success and prosperity of literature in the United States.
1868- 07-18
Leighton and Surridge point out that the illustrations of the Harper’s installments “[heighten] the text’s sensationalism” (207), but the form itself also lends itself in the dramatization of the text. Whereas All the Year Round takes on a book or magazine form, Harper’s Weekly uses a newspaper format to further sensationalize its content. The front page of The Moonstone is organized like the front page of a newspaper, centred entirely on its illustration and the following pages are organized into four panels of text per page, read lengthwise in columns, also like a newspaper. This form may have contributed to a heightened sense of pleasure in the story, as the form sets the reader up for an entirely different reading experience than would be found in All the Year Round. Using this newspaper layout, Harper’s is drawing on ingrained connotations of the everyday habit of reading the news to enter into the reading experience, using a structural framework to guide the reader. If readers are accustomed to finding intrigue, shock, and scandal in a newspaper, this textual form for a mystery novel has now primed its audience to notice and savor all of those things.
Like All the Year Round, Harper’s Weekly is shown to favor The Moonstone in its publication, though not as exclusively. Other works in Harper’s are also illustrated and have attention drawn to them, however, similar to the transition between stories in All the Year Round, Harper’s transition between The Moonstone, and its next piece, Goodman Misery, is much less spatially or stylistically significant, as well as also missing the name of its author. It is determined by two thin lines finalizing end of The Moonstone followed by the small, plain, capitalized title of the next piece. Looking at Harper’s Weekly as a commercial product, it can be inferred from this formal evidence that The Moonstone was a marketable inclusion to the publication, making it worth the investment in illustration and precious space on the page.
This section of "The Moonstone" is placed in between Harper's many visual reminders of the prominence of the letter, and it promotes the book as being "Richly Illustrated", which furthers draws the reader's eye towards the story. The mention of the "morsel of paper" (Collins 110) now falls on the third column of the text and is situated right above the picture provided by the magazine. The reader will continue to see the epistolary trend in their printed copy as they enjoy the newest chapter and as they continue on they will continue to recognize, and associate positively with, the continuous propaganda in support of the postal system. Whether this was done to highlight Wilkie Collins’ previously established theme of the vitality of the letter, or whether it’s for Harper’s Weekly to promote is own optimistic views of a letter dependent society remains unsure. But the connection between the written word and the visual image is very strong throughout this edition of the periodical as it can be seen not only here, where Collins' words are tied in with journal's representation of his plot, but also in the connection between the visual image of the letter, and physical copy it would represent in the lives of the Nineteenth-Century Americans.
1. Higgins determines to send... (Image)
The previous image depicted Harper’s Weekly’s continual Valentine’s Day propaganda. Henkin suggests it to be a theme of the publication’s as an effort to “defend the “Valentine mania” against cynicism in 1859” and offers other examples of their yearly Valentine’s Day imagery. Here we find another, the second in this weekly serial, published the week after Valentine’s Day. The image draws straight back to Henkin’s “Valentine’s Mania” and how the demand to send Valentine’s outweighed the postal service’s capacity to send them. Yet, Harper’s in both instances subverts the cynicism of a holiday by focusing instead on the positive result of the lover’s embrace. Even noting, in this image, the final station as “The Happy Result”. The Happy Result of engaging in the epistolary trend that would continue to grow.
This small image, featured in a section among cartoons, limericks, and poems, same as the comic strip featuring the giant letter, is the last visual reminder of the prominence of the letter contained in this edition of the weekly publication. It depicts a man at a social event, presumably a dance, holding out a card to a woman as a sign that he cannot dance with her immediately. In this case the dance card functions as a visual correspondence between partygoers and as a contract of who will dance with whom in the future. "Leap Year" acts as a small reminder that letters had become so popularized that they were not only sent great distances, but also used in day to day conversation between people in communal spaces. Wilkie Collins also shows us a similar instance when Rachel uses her letter to convey her refusal to the Sergeant though they are both within in the same house at the time.
Moonstone Chapter XXI Header- Harper's Weekly
The header for The Moonstone in Harper's Weekly stands out from the header for the publisher at the top of the page. "The Moonstone" is written in larger font than the Harper's header and Wilkie Collins is credited by name and by another of his works. The script below the author's name places an emphasis on authenticity and credibility in printing. Harper's markets The Moonstone under the "brand" of the author to give the publication of the text a saleable literary quality. Since the focus of Harper's is political and it's collection of texts more eclectic, the publisher cannot use their name to market a literary product, making the use of the author's "brand" necessary to the selling of the text.
Harper's Header- Moonstone chapter XXI second page
The layout of the pages in Harper's weekly is less formal, though still giving emphasis to the text, and the header does not dominate as much of the space as it did in All the Year Round. The text is separated into four columns and are marked by noticeable chapter breaks where needed. When the segment of The Moonstone ends, another story follows directly without the large header that accompanied The Moonstone. This makes Harper's Weekly appear as a platform for Wilkie Collins' "brand" in the publication of The Moonstone rather than Harper's imposing their "brand" on the text.
Harper's Weekly advertises for more than its own brand. The brand names of other products are given equal opportunity to be seen on the page as the ads for Harper's. Harper's weekly is a brand in and of itself without relying on the contents being of the Harper's brand. The texts and the products available in Harper's are marketed under their own "brands" but, Harper's distinguishes their own saleable brand as that of a publisher. While the Moonstone was marketed as being the author's "brand", the publisher's assurance of quality and accuracy reassures the reader that the publisher is measured by the quality of the brands they advertise. This is further illustrated by the captions at the bottom of the advertisements for the newly published book. The book is introduced as being published by Harper's, then the ad talks about the author and the book and closes with a mention of Harper's. The text is the author's but the publisher is Harper's.
Page 132 of Harper's Weekly 19.583 [text]
In "Illustrating The Moonstone in America: Harper's Weekly and Transatlantic Introspection” (2014), Molly Knox Leverenz reminds readers that The Moonstone was published in the United States of America in the years following the Civil War (21). She notes that this was a time period in American history when the nation was intensely self-reflective (41) and concerned with “a growing sense of American identity on the global stage” (24). The page that precedes part nine of The Moonstone in Harper’s Weekly is dominated by three images: a portrait of George Washington, and two images that are both titled “Relieving the Poor.” One image depicts a crowd of people outside the Young Men’s Christian Association and is subtitled “Dinner Hour.” The second image shows a young American man feeding a young impoverished family—primarily girls—at a soup kitchen. It is subtitled “Serving Soup.” The portrait of George Washington occupies the top half of the page, with the remaining two images grouped together in the lower half—as if George Washington is overseeing the philanthropy of the American people. This idealized view of American benevolence towards the poor and lower classes is strategically positioned within the periodical to contrast with images of English poverty in The Moonstone. Reading The Moonstone “intratextually” (25) within Harper’s Weekly reveals instances where American editors manipulated material conditions such as page positioning and image placement in order to exaggerate and critique elements of British ideology. By depicting American peoples as benevolent towards the lower classes, the American publication attempts to distinguish the nation in opposition to its former colonizers. Works Cited Leverenz, Molly Knox. "Illustrating The Moonstone in America: Harper's Weekly and Transatlantic Introspection." American Periodicals 24.1 (2014): 21-44. Web. 5 Oct. 2015.
Hepner, David, fl. 1920-1970
1942
St. Valentine's Day - The Old Story in All Lands
Valentine’s Day was an important day for letters and, as recorded by David M. Henkin, caused post offices to be “lumbered with wagon loads of valentines” (Henkin 149). He also notes that St. Valentine’s Day was popular as a “prolific source of dead letters” (149) and many papers and publications began “marking the passing of the holiday by detailing the number of valentines that had “passed through the post office”” (149), this, according to Henkin typifies “America’s growing dependence on the post.” (150). This particular image, a regular appearance in Harper’s Magainze (Henkin 149), depicts Valentine’s Day as “The old story in all lands”, thus internationalizing and historicizing the now common use of the letter, most specifically the Valentine. Papers can be seen in three instances in the corresponding image, twice in the image’s forefront as passing between two couples, and again throughout the page stuck in the mouths of delivery birds.
Homer, Winslow
Scene in the Hospital for Incurables on Blackwell's Island [image]
This full-page image, “Scene in the Hospital for Incurables on Blackwell’s Island,” appears two pages after The Moonstone in Harper’s Weekly. In W. S. L. Jewry’s illustration, two American women aid a sick man as he lies in a hospital bed. His bed is in the foreground and is cast in a bright light so as to draw the viewer’s eye to the scene. One woman peels fruit for the young man while the second woman (who appears to be dressed in religious habit) reads to him at his bedside—nourishing both his body and spirit. In the background, a third nurse cares for a patient, while a second unattended patient peers towards the sick man with concern. While this image doesn’t visually signal its ties to the American nation, the accompanying title positions this scene within an American hospital. It is a scene that conveys empathy between genders, classes, and physicalities. This image works in tandem with the images on p. 1321 to frame Wilkie Collins’s story within the periodical. Both pages are dominated by images of Americans helping the less fortunate, and both critique the upper-middle class attitudes towards the poor that are represented in Chapter XV of The Moonstone. They function as nationalist propaganda by simultaneously criticizing the lack of empathy in the British class system (as represented by Cuff’s and Betteredge’s treatment of Mrs. Yolland) and falsely depicting “America’s precarious post-war national identity” (28) as unified and classless. Notes 1. See “George Washington and Relieving the Poor” in this exhibit Works Cited Leverenz, Molly Knox. "Illustrating The Moonstone in America:Harper's Weekly and Transatlantic Introspection." American Periodicals 24.1 (2014): 21-44. Web. 5 Oct. 2015.
Jewett, W. S. L.
Typescript draft of Letters to Salonika, June 26th entry, page 3
epistolary poem, Alberta, letters
Typescript draft of Robert Kroetsch's Letters to Salonika
Kroestch, Robert, 1927-2011
Archives and Special Collections, MsC 591, box 46, folder 8
Poem, draft, Sounding the Name
Typescript draft of Robert Kroetsch's poem, Sounding the Name
Kroetsch, Robert
Archives and Special Collections, Folder 53 File 1
ca. 1980
Poem, Draft, Sounding the Name
Typescript draft of Robert Kroetsch's, Sounding the Name with annotations
Archives and Special Collections, Folder 53, File 1
Typescript draft of Robert Kroetsch's, Sounding the Name, with annotations
Archives and Special Collections, Box 53, Folder 1
Typescript draft of Sounding the Name with annotations